Just three hours from Pune lies Aahilya Nagar, also known as Ahmednagar, a district rich in history and culture. It is also home to many talented folk artists, some of whom are registered with Akashvani, keeping Maharashtra’s traditional music alive. One such artist is Shivaji Dhondibhau Thanage, a name synonymous with the preservation of the Bhedik and Kalgi Tura traditions.
We got to know about Shahir Shivaji Dhondibhau Thange through Akashvani, a platform that has done commendable work in providing visibility to local folk artists. Shivaji ji, at 59 years old, has dedicated his life to folk music, mastering instruments like Dholki, Daf, Tuntuna, Harmonium, and Zanzri. What makes his story unique is that he comes from a non-musical background. Unlike many hereditary folk artists, he found his inspiration in the regional songs sung in his village and taught himself the art form.
Our journey with Shivaji ji and his group began in Parner, Ahmednagar, where they were set to perform. It was a crisp morning when we arrived at the venue—a small clearing in the middle of Vijay Vyavahare’s farm. As we set up, Vijay walked over with a warm smile and a bundle of freshly harvested carrots. “Aap bhi kheti karne aaye ho kya?” he joked, handing us a few.
The performance began with Shivaji ji singing ‘Shree Ranga Gan’ and ‘Charghaat Pad’, dressed in a saffron angvastra and a traditional pagdi, signifying his leadership in the group. The ensemble consisted of Vijay Vyavahare on Jhanzhri, Subhash Kavare on Harmonium, Ramdas Thanage on Dholki, Ganesh Londhe on Tuntuna, and Yogesh Londhe on Taal, providing the perfect rhythmic foundation.
As the beats of the Daf merged with the drone of the Tuntuna, the group’s synchronized energy was electrifying. The Tuntuna, painted saffron with pink tassels, not only added a visual charm but also provided a unique melodic drone that set the tone for the entire performance.
After the performance, we expected to pack up and leave, but the warmth of the group made it impossible. “Chai toh peeni padegi,” said Ramdas Thanage, leading us towards a small but inviting home nearby. It belonged to Vijay’s family, and we were about to experience firsthand the hospitality of rural Maharashtra.
Inside, we were welcomed with Poha and steaming cups of jaggery tea, the kind that leaves a lingering sweetness. The conversation flowed effortlessly—from folk music’s role in social messaging to the challenges of sustaining traditional arts in today’s world.
Shivaji ji shared an anecdote about his first-ever performance, which was centered around water harvesting. He recalled how people laughed at the idea of using folk songs for social issues, but by the end of the performance, the village had pledged to build a small dam. That moment made him realize the power of music beyond entertainment—it could be a catalyst for change.
Among the many art forms that Shivaji ji practices, Kalgi Tura holds a special place in his heart. Unlike regular musical performances, Kalgi Tura involves debates conducted through references to religious texts, where artists challenge and counter each other’s arguments. “It’s not just music,” he explained. “It’s a way to educate, challenge, and refine thought.”
His compositions often focus on current issues, addressing everything from environmental concerns to social inequalities. Through music, he believes, one can bridge the urban-rural divide, making folk traditions relevant even today.
Each member of the ensemble has a unique story, blending their love for music with their everyday lives. Yogesh Hanumant Londhe, apart from being a skilled taal and percussionist, manages a 40-acre farm and a dairy business. His voice carries the rich legacy of Bhedik and Lavani, and he dreams of taking these traditions to a wider audience through platforms like YouTube and Akashvani. Subhash Rangnath Kavare, a self-taught harmonium player, started learning at 15 by listening to folk performances. For him, music is not just a skill but a spiritual practice that connects him with the teachings of saints. Ganpat Devram Londhe, an expert in tuntuna and dholaki, believes that music has a moral and spiritual role in shaping society. A Lavani performer, he sees music as a tool to spread ethical messages and preserve culture.
Despite their different backgrounds—some being full-time farmers, others balancing music with other jobs—what binds them together is their commitment to keeping Maharashtra’s folk music alive.
Despite their talent and dedication, folk artists like Shivaji ji and his team struggle for recognition and financial stability. Shivaji ji has won several state-level awards, yet he laments the lack of institutional support for folk musicians.
“There are government schemes for everything,” he said, stirring his tea. “But folk artists? We’re still waiting for our share of support.”
His dream is not just to perform but to mentor the next generation, ensuring that these traditions don’t fade away. “Folk music isn’t just a form of art,” he explained, “It’s a history book, a classroom, a temple, and a movement— all rolled into one.”
The journey of folk artists is timeless, carrying the echoes of oral traditions and shared histories. Through devotional odes, songs of separation, or celebrations of life, folk music transcends linguistic and cultural barriers, forming deep emotional connections with its listeners.
In an era dominated by commercial music, it is crucial to platform artists who keep these traditions alive. Folk music is not just a relic of the past—it is a living, breathing tradition that adapts to the times while staying true to its essence.
